Tag Archives: Malaysia

Edric Ong combines the role of artist with designer, architect, curator, consultant and president. He works quite closely with UNESCO, advising on their Seal of Excellence for Crafts Program. He has convened the World Eco-Fiber and Textile (WEFT) forum since 1999. And has specialised particularly in the textile crafts of Malaysia, including Sarawak.

For Welcome Signs, he has designed a series of fibre-based jewellery drawing on the traditional craft of pandanus weaving. These draw on important elements of local material culture, such as wedding ceremonies and personal adornment.

Edric Ong, Pandanus pouch necklaces

Two string necklaces featuring blue glass beads and hand-crafted pouches made of dyed ‘pandanus’ leaves. These pouches are miniaturized from traditional dowry pouches made by the Malay women of Kota Samarahan , Sarawak, East Malaysia; and were presented during the ‘akad nikah’ or exchange of marriage vows ceremony.

Edric Ong, Pandanus open-plaited necklace and belt

Open plaited pandanus straps were made by the Orang Asli of Carey Island, Selangor, West Malaysia as part of their small pouches for keeping tobacco.

In the necklace and belt featured here, they have been made as components and strung into a cord (the necklace) or added to a rattan belt as accessories.

Artist Statement

This is a series of fashion accessories I developed as part of collection to introduce the use of more natural fibers such as tree-bark, rattan, and pandanus into my work. It started with using tree bark cloth as appliqué on cottons and silks; then using rattan straps as accessories, and then using the pliable pandanus as bustiers, capes and also as ornaments for necklaces and belts.

The pandanus components are made by two groups of craft artists: the Malay women of Kota Samarahan, Sarawak in East Malaysia; and the Orang Asli women of Carey Island, Selangor in West Malaysia.

I hope that these new designs and use of their traditional crafts will inspire them to create a new product line and so generate more income for them.

Kuala Lumpur’s Craft Complex promises to be a ‘one-stop craft centre’. It’s quite an extensive series of buildings, including museum, shops, design workshop, café and artist colony. The museum features an exhibition of quite sumptuous gold embroidery. The shop promotes elaborate filigree work as desirable corporate gifts. The textile outlet has a functioning loom, but it is only demonstrated for official functions. And the artist colony consists of mostly painters, though there is a ceramicist and batik workshop.

The overall impression from these buildings is of ‘rich craft’ – craft that celebrates nobility and distinction. The traditional dagger, or keri, features prominently as a traditional symbol of status.

The banners outside the building proclaim ‘kraft ke persada dunia’, which loosely translates as ‘taking craft to the world’. This seems to fit well with KL’s ambition to be a centre for world trade.

There are glimpses of quite striking textile designs, particularly from Sarawak. But the tourist is likely to need to travel to these places themselves in order to get a real taste of Malaysian craft. In the end, craft needs craftspersons.